“世界诗歌”论争背景下中国现代诗境遇探析  

An Analysis of the Circumstances of Modern Chinese Poetry in the Context of the Debate over“World Poetry”

作　　者：李雪凤 LI Xue-feng(International Institute of Chinese Studies,Beijing Foreign Studies University,Beijing 100089,China)

机构地区：[1]北京外国语大学国际中国文化研究院,北京100089

出　　处：《宝鸡文理学院学报（社会科学版）》2023年第6期98-103,共6页Journal of Baoji University of Arts and Sciences：Social Science Edition

摘　　要：相较于“世界文学”概念的丰富和包容,宇文所安于20世纪末提出的“世界诗歌”概念则充满批评色彩。“世界诗歌”专指写给国际读者看且为翻译而生的诗歌,大多出自东方所谓“第三世界”国家和民族。诚然,对此类诗歌可能存在的缺乏民族性、一味讨好西方主流诗坛的警惕与担忧符合情理,但在文化全球化的今天,更大的困境在于非英语诗歌及相应的文化批评裹挟在西方主流话语与学术体制之下所面临的尴尬境遇,而关于中国现代诗的发展问题或许并非宇文所安等“世界诗歌”的赞同者所设想的那样悲观。Compared with the richness and inclusiveness of the concept of“Weltliteratur”,“World poetry”put forward by Stephen Owen at the end of the 20th century is a concept full of criticism.“World poetry”refers specifically to poetry written for international readers and translated,most of which come from countries and nationalities in the so-called“the third world”in the East.Admittedly,it is reasonable to be vigilant and worried about the possible lack of nationality in such poetry and blindly pleasing the western mainstream poetry,but in the era of cultural globalization,the greater dilemma lies in the embarrassing situation faced by non-English poetry and corresponding cultural criticism under the western mainstream discourse and academic system.The development of modern Chinese poetry may not be as pessimistic as those who agree with“world poetry”such as Stephen Owen.

关 键 词：宇文所安 世界诗歌 中国现代诗 

分 类 号：I109[文学—世界文学]